MCA Advisory, April-May 2008

The Newsletter of Medal Collectors of America

Volume 11 Number 4

April/May 2008

Board Members

John W. Adams, President
John Sallay, Vice President
Barry D. Tayman, Treasurer
Vicken Yegparian, Secretary
David T. Alexander
Robert F. Fritsch
David Menchell
Scott Miller
Ira Rezak
Donald Scarinci
Michael Turrini
Benjamin Weiss

John W. Adams, Editor

99 High Street, 11 th floor
Boston, MA 02110
iohn.adams@canaccordadams.com

Barry Tayman, Treasurer
3115 Nestling Pine Court
Ellicott City, MD 21042
bdtayman@verizon.net

Benjamin Weiss, Webmaster

benweiss.org@comcast.net

Website- medalcollectors.org

Editor of Collectors’ Guide, Dick Johnson
( dick.iohnson@snet.net )

Dues- $20.00/Year $35.00/2 years

From the Editor 2

Annual Meeting 2

Webmaster’s Report (by Ben Weiss) 2

A Nini Medallion’s Brooklyn
Connection (by Max B. Spiegel) 4

The Libertas Americana Medal and
Joseph Wright (by Karl Moulton) 7

Letters to the Editor 13

Coming Events

Member’s Meeting July 31, 2008
Time: 3:00 p.m.

Room 316, ANA Convention

2

From the Editor

These are good times for MCA. We
have a solid bank account, a growing
membership and a strong flow of high quality
material for The Advisory. However, as John
Sallay points out, we need to be active on
multiple fronts if our Club is to achieve its
potential.

One new activity suggested at our last
Board meeting was to enrich our tradition by
conducting formal interviews of our senior
members. Capture the history while we can,
because life is ephemeral. This point was
brought home in a dramatic way by the sad
announcement of the death of Kahlil Gibran.

A painter, sculpteur and collector of
Renaissance medals, Kahlil was a towering
talent. His vast database of knowledge and his
creative views on the hobby will be symbolized
by his collection, but symbolized only. The
essence of who he was and what he meant to
us, his fellow collectors, is now beyond
retrieve.

The desirability of interviewing our
icons is overwhelming — and it is easily done —
IF members volunteer to do the interviewing.
Herewith a fervent plea for volunteers: if you
want to enrich future as well as present
hobbyists, give me a call. Better yet, contact
John Sallay who will help you get started. You
can have a lot of fun and feel good about
having the fun — an unbeatable parlay.

Annual Meeting

Our annual meeting will take place at
the ANA convention in Baltimore on July 31 st .
We have the 3:00 p.m. time slot and will meet
in Room 316.

After appropriate introductions, we will
hear from our officers and webmaster.
Following club business, our speaker will be
Jim Cheevers, Associate Director/Senior
Curator at the United States Naval Academy
Museum. Jim is the steward of an important

collection of naval medals including the John
Paul Jones medal in gold.

At the conclusion of Jim’s talk, we will
announce the recipients of the Carl W.A.
Carlson Award and the Gloria Stamm
Chamberlain Award. The Carlson Award is
given for long and distinguished service to the
hobby of medal collecting. The Chamberlain
Award is given for promising contributions
from relative newcomers. TheClub is fortunate
to have a plethora of worthy candidates for
each. Carl W.A. Carlson Award was instituted
in 1999. Georgia Stamm Chamberlain Award
was instituted in 2004.

The names of previous winners are:

2000 Carson: John W. Adams

2001 Carson: R.W. Julian

2002 Carlson: Christopher Eimer

2003 Carlson: Dr. David Menchell

2004 Carlson: Dr. George Fuld
Chamberlain: Vicken Yegparian

2005 Carlson: Anthony Terranova
Chamberlain: John Kraljevich

2006 Carlson: Michael Hodder
Chamberlain: Max Spiegel

2007 Carlson: David T. Alexander
Chamberlain: Len Augusburger

There will be a social hour following
our meeting if the attendees choose to be
sociable.

Webmaster's Report

(by Ben Weiss)

New Feature

As planned we have added a
new feature to our MCA Website which we
have called the MEMBERS' CORNER. It can
be found as a link from every page of the
website. On this new page we will be posting
articles and images and descriptions of the
medals that our members wish to share with its
readers. If you have anything you would like
to post here, please let me know.

Right now I'd like to keep the decision
open as to content so we can see what

3

the members would like to post. My own
preference is to allow a great deal of flexibility
and diversity of its format in order to
encourage as much members' participation as
possible. For this is its goal. The only proviso
is that the images be of high quality.

This new feature is limited to current
members of the MCA, so any others wishing to
post portions of their collection here should
consider joining our organization. (An
Application Form may be found attached to this
Advisory. It also can be found online at our
website).

I am pleased to report that we already
have our first contribution. John Sallay has
generously provided us with images and brief
descriptions of his wonderful collection of
American School Medals. While mostly from
the United States, they cover school medals
from around the world.

As this is YOUR section. I would
appreciate having any comments and
suggestions about this new feature. Again,
please send me any material you would like to
post here. This page is now open for business.

Please be sure to visit:
www.medalcollectors.org

Best wishes,

Ben

A Nini Medallion’s Brooklyn

Connection (Max B. Spiegel)

A recent conversation I had with noted
colonial coin expert John Kraljevich turned to
the subject of Nini's Franklin medallions.
Specifically, he asked about the terra cotta Nini
medallion I purchased out of the Presidential
Coin and Antique Company June 30, 2007
Baltimore auction (lot 524). Peculiarly, there
was an inked inscription on the reverse that
read: "E. M. Young / 150 St. James Place /
Brooklyn, L.I." A proud resident of Brooklyn, I
could not pass up the opportunity to own a Nini
that had at some point been in the possession of

another Brooklynite. Especially interesting was
that the address referred to "Long Island" (L.I.),
as opposed to New York City, meaning that
this E. M. Young wrote the inscription prior to
Brooklyn's incorporation into New York City
in 1898. The question remained, however, who
was this E. M. Young?

Before delving into the subject of
Young, I will give a brief overview of Nini
medallions. In 1772 Giovanni Battista Nini, an
Italian engraver, accepted a commission from
the French courtier Jacques Donatien Le Ray
de Chaumont to be the superintendent of his
ceramics plant. A friend of Benjamin Franklin,
de Chaumont invited the American to stay at
his home outside of Paris, where Franklin lived
for nine years. In 1777, to honor his guest, de
Chaumont asked Nini to create a model for a
medallion based on five portraits of Franklin by
the English artist Thomas Walpole. The design
chosen depicted Franklin wearing a fur cap
surrounded by the legend: B. FRANKLIN .
AMERICAIN." Beneath the bust is NINI F.
(Nini, fecit), the date 1777, and a coat of arms.
The June 30, 2007 Presidential catalog cites
Richard Margolis as saying, "This is an
imaginary coat of arms devised by Nini to
honor Franklin’s invention of the lightning rod;
it depicts an arm holding a lightning rod which
attracts a bolt of lightning coming out of a
cloud." The Jaeger-Bowers 100 Greatest
Tokens and Medals (which ranked the Nini
medallion 29th) estimates 100 to 200 extant in
terra cotta (Fuld FR.ME.L.3), in addition to 15
to 20 in bronze (Betts-548) and two in silver,
which were cast sometime after the original
terra cottas. These medallions were evidently
quite popular at the time, and were hung in
homes on both sides of the Atlantic.

So who was E. M. Young, a sometime
owner of one of these Franklin medallions,
which he probably proudly displayed at his
home in Brooklyn? After searching through
census data and Brooklyn's newspapers, I came
across our Young. An obituary in the now-
defunct Brooklyn Standard Union reads that an

4

Edward M. Young died on Friday, April 17,
1891. A funeral service was held the following
Sunday at 2 pm at 150 St. James Place, which
the newspaper describes as the home of his
son-in-law, William Gray. This information
spawned more questions: Who was Young's
daughter? Did he have other children? What
about a wife? Where did he live if the address
on the back of the Nini medallion was his son-
in-law's home?

Searching through the U.S. Census data
from the decades prior to his death, I found out
a great deal about Edward M. Young and his
family. Census data collected on July 28, 1860
describe Edward as being a 50 year old
bookkeeper, married with three children. His
wife, Mary J., was 47 at the time, and their
three children were Eliza (15), Frederick E.

(11), and Franklin J. (7). Perhaps the young
Franklin was named after Benjamin Franklin,
whose Nini medallion probably adorned their
wall. The 1860 census writes that all three
children attended school in the past year. His
"personal estate" was valued at $1,500, a
typical working class sum.

While I was unable to locate the Young
family in any prior censuses or for 1870, the
1880 census yields more information. They are
listed as residing at 128 St. James Place, with
Eliza no longer a resident. Sometime during the
past 20 years she had married and moved out,
but apparently not far, as her husband's house
was 150 St. James Place, according to the
Brooklyn Standard Union. Still living with
Edward and Mary were their two sons,
Frederick and Franklin. Frederick was now 30
and had been unemployed for the past year.
Franklin was 27 and was a cashier for "Powder
Co." Interestingly, the Young's had two
additional occupants in 1880, one a boarder, the
other a servant. With Eliza out of the house, the
Young's leased her room to a Miss R. Vanway,
age 78. The extra income from the boarder
probably enabled the Young's to have a live-in
servant, Mary F. Boroughs, who was 19 years
old. Boroughs is listed as mulatto, bom in

Pennsylvania, with the location of her parents'
births listed only as the "south."

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The family homes at 128 and 150 St.
James Place would now be considered part of
the Brooklyn neighborhood of Clinton Hill,
named for DeWitt Clinton, a former mayor of
New York City, governor, and presidential
hopeful. Although once considered a rural
destination, by the 1 860s developers were
building the row houses that would dominate
the landscape by 1880. The row house where
Edward M. Young lived at 128 St. James Place
still stands, although its appearance has since
been changed by the addition of vinyl siding.

At 150 St. James Place there now stands an
apartment building, encompassing the lots of
the former row houses at 148 and 150. While
these row houses no longer appear as they did
when Young lived there, the row houses on the
opposite side of the street are largely unaltered
and give a good feel for what the entire
neighborhood would have looked like.
Beginning in 1875, the oil executive Charles
Pratt built himself and his children several
magnificent mansions in the area, some of
which are still standing nearby, with elegant
carriage houses just a few blocks away. Today
Clinton Hill is largely middle class and home to
Pratt University, with many of the tree lined
blocks of row houses still standing much as
they would have appeared a century and a half
ago.

The 1880 census lists Edward's mother
being born in New York and his father "on the
Atlantic Ocean." Presumably, this would mean
that his father was bom on the boat while
immigrating to the United States.

Unfortunately, I was unable to find any
conclusive immigration papers regarding his

5

father. Interestingly, Franklin J. Young is
described as being born on Long Island, as
opposed to New York for the rest of his family.
Perhaps the Young's lived in Manhattan for a
while before moving to Brooklyn, and therefore
the places of birth are distinguished as such.

The last piece of information that can be
gleamed from the 1880 census is that Edward's
occupation is now listed as banker, as opposed
to bookkeeper. It may be the same job, or it
may indicate a promotion or change of careers
for Edward Young.

There are still some unanswered
questions about Young, and sadly some
answers may have been lost to time.
Unfortunately the stories of the many average
Americans are unrecorded and therefore
nothing other than a few dates may be known.
While I know that Edward was born in 1810 or
1811,1 still do not know when he married,
where he might have lived previously, where
he worked as a banker, or why he wrote his
son-in-law's address on the reverse of the
medallion (perhaps he spent his final years
living there). There is also an accession number
(1991.395) penciled on the reverse from some
unknown museum. I will continue my search
for answers to these, and other, questions, and
hopefully will gradually piece together the
history of this medallion.

It is not always possible to trace any
previous owners of a numismatic item, but
when it can be pedigreed, it is a wonderful
feeling of being connected with the past. Like
me, well over a century later, Edward M.

Young lived in a typical Brooklyn row house.
He was not wealthy, but he lived comfortably,
and was probably an average New Yorker.
While there are still many questions that remain
to be answered, I am glad that I could find
some information, and link the past to the
present. I imagine walking the same streets as
Edward Young, going to the same parks, and
displaying his Nini medallion proudly in my
living room, just as he would have many years
ago.

6

The Libertas Americana Medal
and Joseph Wright

(by Karl Moulton)

History is strange indeed. People,
events, and purposes become misinterpreted,
distorted, forgotten, and recreated into what we
think we know today.

In my 2007 book “ Henry Voigt and
Others, Involved with America’s Early
Coinage ”, p.31, 1 wrote about the Libertas
Americana medal: “ The original concept for
this medal was Franklin ’s, the obverse design
by Joseph Wright, the reverse design by French
painter Espirit-Antoine Gibelin, while Augustin
Dupre of the French Mint was merely the
engraver and has been given most of the credit
because his name appears on both sides”.

For 225 years the creation of the
beautiful and historically significant Libertas
Americana medals has been attributed to
Augustin Dupre. Based on my recent research,
I believe Dupre only engraved the dies. He did
superb work, but in my opinion, Dupre did not
have anything to do with creating the designs.
This article attempts to bring into focus the
background of this interesting piece of
Americana.

Benjamin Franklin was the person
responsible for the Libertas Americana medal;
it was not commissioned by Congress as part of
the Comitia Americana series. Nor was it an
official French Mint creation even though the
medals were struck there in April of 1783. In a
March 4, 1782, letter to Robert Livingston, the
Secretary of the Department of Foreign Affairs,
Franklin wrote, “ This puts me in mind of a
Medal I have had a Mind to Strike since the
late great Event you gave me an Account of;
representing the United States by the Figure of
an Infant Hercules in his cradle, strangling the
two Serpents, and France by that of Minerva,
sitting by as his Nurse with her Spear and
Helmet, and her Robe Speck’d with a few
Fleurs-de-lis .” This was soon after the news of
Cornwallis’s surrender at Yorktown had

reached France. These elements became the
reverse design.

Livingston responded on May 30, 1782,
“/ am charmed with your idea of the medal to
perpetuate the memory of York & Saraytoga
the design is simple, elegant, & strikingly
expressive of the subject.” So it is clear that
Franklin already had the basic reverse design in
mind. This is further evidenced in an April 2,
1782, letter that Ben Franklin wrote to George
Washington, “The Infant Hercules has now
strangled the two Serpents that attack’d him in
his Cradle, and I trust future History will be
answerable.”

Sometime during the summer of 1782,
according to the standard French medal-making
process, the L’ Academie Francaise assigned to
Franklin an individual to serve as liaison. This
person was Alexandre-Theodore Brongniart,
and he was an influential member of the Royal
Academy of Architecture. On Sunday, 22
September 1782 he wrote to Franklin, “Sir, I
have at last obtained from the sculptor of whom
I had had the honor of speaking to you, two
fairly large sketches of medals. I also asked a
painter among my friends to draw the same
subject and I believe that he has done well at it.
Which day do you want, sir, that we should go
to Passy to have the honor of presenting the
works to you? Or if your business should call
you to Paris and you wanted to give yourself
the trouble of coming to my place, you would
find everything gathered there with me keeping
watch. But the sole favor that I would ask of
you is that you do not inconvenience yourself at
all, more than happy if I can have advanced
your ideas. I have the honor to be, with the
most respectful sentiments, sir, your very
humble and obedient servant. [Thanks to
David Yoon for this translation.] Thus, we can
presume that at least three sketches had been
prepared, two by the “sculpteur and one from
Brongniart’ s painter friend, Espirit-Antoine
Gibelin.

It is unfortunate that Brongniart did not
mention any names (or nationalities) in his

7

letters. If he had, there would be no reason for
my assertion that Joseph Wright created the
obverse design seen on the Libertas Americana
medal because this would have been previously
known. Brongniart is first mentioned in a
numismatic text, the 2007 John Adams/Anne
Bentley “ Comitia Americana” book. Previous
numismatic texts (e.g. Cornelius Vermule,

1971, “Numismatic Art in America” p.27) and
various auction catalogues describing the
Libertas Americana medal were limited, with
nearly all comments extolling Dupre for
creating them only because his name appears
on both dies. There was no differentiation
between the designing and engraving.

So, who was the “sculpteur” mentioned
by Brongniart? I believe it was Joseph Wright,
and will present background evidence to
support this assertion.

The Case for Joseph Wright

Most people involved in American
numismatics have little knowledge about
Joseph Wright. He was at the first U.S. Mint
for a few months in 1793 and then died.
Unfortunately, that is about all there is to be
found in numismatic texts. However, if one
goes beyond numismatics, there is much to be
discovered. Indeed, there was a book published
about him by Monroe Fabian in 1985 titled,
“Joseph Wright - American Artist, 1 756-
1793”.

When Wright finished his six years of
study at the Royal Academy of Arts in London,
and was becoming independent of his mother,
he was known primarily as a sculptor, having
received a “Best in Class” silver medal (in a
yearly exhibit of the works of the Royal
Academy’s students) for his model of a plaster
cast of an “Academy Figure” in 1778. In order
to even be considered for admission to the
Royal Academy, an applicant had to provide
two separate drawings or models from some
plaster cast. Wright had a strong background in
this field as his mother. Patience Wright, was a

renowned sculptor of wax figures, who had
shops in New York, London, and Paris.

Patience had gone to London with a cordial
letter of introduction from her friend, Mrs. Jane
Mecom of Cambridge, Ben Franklin’s favorite
younger sister.

The most significant point to validate
Joseph Wright as a sculptor can be found in the
fact that he was the first of just two artists, the
other being French sculptor Jean A. Houdon
(along with three assistants in October 1785),
to make a plaster mold of George Washington.
This happened in August 1783 after Wright had
returned to America. Charles Thomson, the
Secretary of the U.S. Congress, wrote a letter of
introduction for Wright to Washington, who
had recently arrived at Rocky Hill, NJ. Part of
Thomson’s letter reads “. ..The Bearer, Mr.
Wright, is recommended to me as an Artist
skilled in taking Busts. . .requesting the favour
of your Excellency to admit him to try his
talents.” With this, Wright directed the future
president to lie down on a table so he could
place Plaster of Paris over Washington’s face.
Unfortunately, the mold wasn’t completely
hardened and broke when it was removed; but
Wright was able to repair it and make a bust of
Washington’s features. This bust of
Washington was finished, put on display at the
State House (Independence Hall) in
Philadelphia, and promised to Congress in
December 1784. Wright had also painted
Washington’s portrait and sold him the original
that May.

Wright had gone to Paris in December
of 1781 to be with his mother who had been
there since the summer of that year, and to
further his study of painting. When he,
accompanied by his mother, visited with the
Franklin family (Benjamin and his grandson
William “Temple” Franklin) at Passy, Wright
quickly formed a bond with Temple (they were
both 25 years old). Temple was instrumental in
developing Wright’s career as a portrait painter
by providing a direct introduction to a patron of

8

the arts and Parisian salon convener, Madame
Charlotte de Cheminot.

On September 4, 1782, official notice
from England to Richard Oswald, the head
British peace negotiator in Paris, stating,

. .that the King has consented to declare the
Independence of America...” reached the
Franklin residence in Passy. Wright was
probably there (along with the two sons of
Robert Morris) having been delayed in leaving
France at Nantes and returning to Paris in mid-
August. This was glorious news. American
independence was finally a reality! Franklin’s
proposed medal could now be finished. Since
there are no extant letters regarding the selected
obverse design, I suggest the two sketches
could have been done by Wright rather quickly,
like those of the Morris boys (which are no
longer extant) - possibly during the few weeks
after he returned in August during that joyous
time for Americans to be in France.
Unfortunately, Wright’s activities are mostly
undocumented during this brief three-week
period.

The main design theme that Franklin
came up with in March was already known.

The figure representing LIBERTY was not. If
Wright did this, he might have used his New
York City girlfriend (Sarah Vandervoort) as a
model, drawn from memory, and made sure the
important pole and cap design element was
included in the background. That’s all that
would have been needed for a sketch of
LIBERTY. Joseph Wright left once again for
the French coast the following day (September
5, 1782). Two weeks later Brongniart’s letter
to Ben Franklin was written regarding the
proposed design selection.

The Liberty Cap and Pole

Although the Liberty Cap and Pole
theme can be traced back to ancient times, the
idea of the French creating the pole & cap
elements to depict Liberty in the late 18 th
century must be balanced by the 1763 sketch of

Englishman John Wilkes. Wilkes had been a
Member of the English Parliament until he was
ousted and arrested because of his defiance of
the new King George III and his Prime
Minister. His strong opposition to the King,
and later support of the American Revolution,
made him a popular figure in both England and
the American colonies. The town of Wilkes-
Barre, Pennsylvania is named in his honor.
John Wilkes and Isaac Barre were both
members of the English Parliament who
vigorously opposed the British monarch. The
sketch of Wilkes shows a rounded, hard
skullcap centered on a pole with the word
LIBERTY displayed prominently across the
front.

JOHN WILKES

William Hogarth’s popular caricature, “drawn from the life in
1763, brought Americans a glimpse of the stormy figure who
was to become Patience Wright’s friend and ally in London.

In the spring of 1768 Wilkes was again
elected to Parliament and then promptly re-
arrested. He was taken to King’s Bench Prison.
The next few weeks saw an ever-increasing
throng assemble outside the prison walls. On
May 10, 1768, a crowd of approximately
15,000 chanted, “Wilkes and Liberty”, “No

9

Liberty, No King”, and “Damn the King! Damn
the Government! Damn the Justices!” Fearing
an attempted rescue, the deployed troops
opened fire killing seven civilians. This caused
uprisings all over London. Wilkes was
eventually released from prison in April 1770.
As it turns out, when Patience Wright moved to
London in 1772, after visiting first with her
new friend Benjamin Franklin at his residence
on Craven St., she became acquainted with
both John Wilkes and Isaac Barre, of whom she
made wax bust sculptures.

In the summer of 1773, because of her
modeling talents, Patience was commissioned
to make life sized wax figures of both the
British King and Queen, whom she referred to
merely as “George” and “Charlotte”. Patience
was often seen coming and going in the Royal
Palace on her own terms, needing no formal
invitation as she was a favored guest at that
point. She even had lengthy, private
discussions with the King, and was always
honest and quite frank in her dialogue - a true
women’s rights advocate.

John Wilkes was elected the Lord
Mayor of London in 1774 and became a
devoted friend and ally of Patience Wright
during her later protest against King George III.
Then the American Revolution began. Patience
acted as an American spy after the war started,
sending to America plans of troop movements,
and other information, contained in wax heads
and figures. After she fell completely out of
favor with the British monarch, she posed for a
sketch in the fall of 1777 that defied the
occupation of Philadelphia by the British
forces. This took a tremendous amount of
courage for any woman to do, particularly an
American woman in London. Much more
about Patience Wright and John Wilkes can be
found in the 1965 book “ Patience Wright -
American Artist and Spy in George Ill’s
London ” by Charles Coleman Sellers, who also
wrote “ Beniamin Franklin in Portraiture ” in
1962.

PATIENCE WRIGHT, 1777

Drawing by John Downman, A.R.A., whose drawings of Benja-
min West, “my most beloved teacher,” date from the same time.

As can be seen in the image above,
Patience had copied the Wilkes protest theme
by using a symbolic pole and hard, centered
Liberty cap in her 1777 sketch “The
Personification of Liberty'’, which read
“Liberty I am, and Liberty is Wright; and
Slavery do I disdain with all my Might”.

Joseph Wright was there when this prelude to
war took place. His deep feelings for Liberty
were reflected in his later designs - the first
being sketches submitted for the Libertas
Americana medal in 1782. Notice that there is
a small, hard, centered cap on the pole which
seems to defy gravity and is similar to the
earlier Wilkes and Patience Wright sketches.

Thus, Wright knew that the Liberty cap
on a pole was a powerful and popular image in
defiance of tyranny. One reason there is no
physical evidence to support Wright as the
designer of the Libertas Americana obverse is
because Wright was returning to America
(when the Libertas Americana designs were
being reviewed and selected by Franklin,
Brongniart, and probably Gibelin), and the ship
he was on ran aground in a snowstorm off the
coast of Maine. The only items he salvaged

10

were a few diplomatic letters, which he
eventually delivered to prominent Americans.
The rest of his personal belongings including
papers, letters, paintings, and other sketches he
did in France were apparently lost and washed
out to sea. By Christmas 1782, he was visiting
Jane Mecom’s residence at Cambridge near
Boston. His next stop was New York City.

Visual Evidence in Wright’s Later
Creations

In 1793, Joseph Wright was given the
title of “First Draughtsman and Diesinker ” at
the United States Mint. He designed and
created the dies for the first United States Half
Cents and Liberty Cap Large Cents, both of
which depicted a pole and a soft cap in the
background design. Some past researchers
suggest he copied this from Dupre - 1 suggest
Wright copied from himself. A family portrait,
of Joseph and Sarah Wright with their children
completed in 1793, shows a striking
resemblance between Sarah and the portrait
seen on the Libertas Americana medal.

It needs to be pointed out that Sarah
Vandervoort (later Wright), lived at 11 Queen
St., a block away from Patience Wright’s shop
at 100 Queen St. in New York City. Joseph
Wright first met Sarah sometime between the
beginning of 1770 and the latter part of 177 1
when he lived at 100 Queen St. in NYC with
his family.

After a small fire broke out in the
Wright wax shop (accidentally started by one
of the children), Joseph went back to
Philadelphia in late 1771 to further his studies
but, after a few months, he returned to New
York City, and ended up going to London with
his two sisters Phoebe and Betsy. Patience
Wright wanted her children to be with her.

But the evidence does not stop there.
The 1792 American Dismes and 1793 Half
Cents depict the same model, which I contend
is Sarah Wright. Notice the long, thick strands
of unbrushed hair, the long neck, and the

distinctive straight sloping nose and high
cheeks.

Sarah Wright - 1793

From family portrait on the front cover
of “Joseph Wright - American Artist 1756-
1793”

Joseph and Sarah W right with Children — 1793

Joseph Wright was involved with the
beginnings of American coinage designs and
die sinking. This is evidenced in a letter by
Thomas Jefferson, then Secretary of State and
the government official responsible for the U.S.
Mint, when he wrote about an overlooked
Comitia Americana medal for Henry Lee,

“ After 1 returned to America, Genl. Lee applied
to me for the medal voted him by Congress,
which Mr. Morris ’s list had by mistake omitted,
and producing to me the resolution of Congress
for the purpose 1 put it in hand with Wright to
be executed in Philadelphia. Wright, as well as

11

I recollect, would not agree to warrant against
the quality of the steel. His dies broke after
they were executed, so that this matter was not
concluded when I left Philadelphia” . Jefferson
left Philadelphia for the summer on July 13,
1792. He had given the commission to Wright
who was there working as an engraver, and had
already created designs and dies for the new
United States coinage.

Who Was Augustin Dupre?

In 1782, Augustin Dupre was the
assistant engraver at the Paris Mint. Dupre,
along with Chief Engraver Pierre-Simon-
Benjamin DuVivier and medallist Nicholas
Gatteaux, executed ten Comitia Americana
medals during the 1780’s, Dupre having
engraved three such pieces. On the 1781
Daniel Morgan medal, Dupre signed in Latin at
the bottom “Dupre Inv.Et.F” - meaning “Dupre
created and made” (F standing for Fecit). In
the case of the Libertas Americana obverse,
there is only “Dupre” and nothing more. That,
in itself, is a possible indicator that someone
other than Dupre created the portrait for the
Libertas Americana medal. It has been
presumed, based on a later claim, that Espirit-
Antoine Gibelin (Brongniart’s painter friend)
created the design that was chosen for the
reverse, even though Dupre signed that
working die with his last name followed by
“F”. It is rather puzzling that the “F” is found
on the reverse, but it is possible that the “F”
indicates Dupre “made” (engraved) both dies
rather than creating the actual designs,
especially since the main elements had
previously been outlined by Franklin (Minerva
and infant Hercules) and Gibelin (leopard with
a crown). Interestingly, Franklin never
mentioned anything about a leopard in his 1782
letters. Although the feline depicted has been
called a lion by American writers since the
1880’s, this is not an accurate label based on
the original 1783 French description of
Franklin’s medal.

A stylized sketch of the reverse design
with a different display of the main characters
and lettering, dated 1783, is located at the
American Philosophical Society in
Philadelphia. This is signed “A. Dupre fecit”
in a circle on the lower left and is pictured in
the “Comitia Americana” book, p.185.
However, there is also an earlier sketch by
E.A.Gibelin, closer to Fr a nklin’s original
concept with an actual cradle near the infant,
located in the Musee de Blarencourt in France.
Brongniart wrote two more letters to Franklin.
The January 23 letter reads, “/ have the honor
of sending to Mr. Franklin two new proofs of
the medal, noting that the head is not quite as
perfect as it should be, that the serpents held by
the child will be larger and better drawn;
moreover the engraver put “intans” instead of
“infans” and this spelling mistake shall be
corrected. I have the honor of reminding Mr.
Franklin that he had promised what he shall
have inscribed on both sides at the bottom of
the medal, and this matter alone prevents its
completion .” Brongniart mentions at the end of
his January 31 letter, “ The engraver who
desires to finish this work . . .”

Since we know that Dupre was the
engraver, he must be the one to whom
Brongniart refers. It seems inconsistent for
Brongniart to refer to Dupre as a “sculpteur” in
December and as an “engraver” four months
later. [The French word “sculpteur” can mean
either sculptor or engraver — ed.] As far as I
have been able to determine, there was no
direct communication between Franklin and
Dupre regarding any aspect of the Libertas
Americana medal.

Finally, there are few sculptures in
plaster, wax, stone, terra cotta, or any other
material actually confirmed as being done by
Dupre. The “ Comitia Americana ” frontispiece
displays a large terra cotta model similar to the
Libertas Americana reverse, which is currently
attributed to Dupre. However, this was once
attributed as the work of Clodion and is only
similar not identical to the one used;

12

additionally, and this may be significant, it is
unsigned.

In summary, despite the longstanding
tradition according the design of the Libertas
obverse to Augustin Dupre, there is no direct
proof that this is indeed the case. Likewise,
there is no direct proof that Joseph Wright
executed the design. However, there is a strong
case for Wright that has never before been
presented and that we now commend to your
consideration.

[Some readers will disagree with Mr.
Moulton but any fair-minded person must
concede that he has done a lot of homework.
It is fitting that the importance of this topic
should be reinforced by last week’s sale of a
cliche of the Libertas obverse for $57,500! —
ed.]

Letters to the Editor

Dear Mr. S allay,

I am an Italian student attending the
University of Bologna. I am doing some
research on the Sir Edward Thomason Medals
series and I have recently bumped into your
article on the Medal Collectors of America
website

(http://www.medalcollectors.org/Guides/TMB/
TMB.html) . I have already managed to get the
book by Thomason, Memoirs during Haifa
Century , but I would like to acquire some more
information, if possible. Do you think you can
give me advice?

I thank you for your attention.

Best regards,

Carola Bosi.

Hi Carola,

I’m sorry to say that I don’t know much
more about Thomason or his Medallic Bible
series than what is on the MCA website. I hope

you noticed that there are also photographs of
all 60 of the Medallic Bible medals on the
website, but visible only if you click on the
little word “pic” next to each title. Although
the original photos of the medals from my set
are very high resolution (3MB), the photos on
the website are low resolution (60KB) in order
to make downloading easier. If you wanted to
see examples of the Franklin Mint version,
there are sets available this week on eBay in
both silver (Item number: 150234760431) and
bronze (Item number: 300215046102).

To aid in your research, you might
contact Christopher Eimer, a highly
experienced and authoritative (and very nice)
British medal dealer. You could contact him
through his website:
www.christophereimer.co.uk .

Good luck with your research!

Best regards,

John Sallay

Donald (Scarinci),

Here is some information resulting from
the Audio History portion of our teleconference
yesterday.

Bob Fritsch

Bob,

I have asked several here and we all
agree. You don't want an audio
only interview, you want to use a digital video
camera and get the audio and visual at the same
time. The camera should be set up on a tripod
with the interviewer off camera. The camera
would be focused on the person being
interviewed. Check the lighting to make sure
you have a good image on screen. You are not
interviewing a shadow, but a person.

Arranging in advance to meet in a public
place like a coin shop or a library might be

13

helpful for the lighting aspect if his home is not
well lit. A neutral background that is not
cluttered will keep the viewer focused on him
instead of piles of papers and such.

You will want to talk with the expert a
few minutes before the camera
starts rolling, to get acquainted with him, if he
is not well known by the interviewer. The club
should compile a list of questions to be
answered and share the list with the expert,
giving him an idea of what you want from him.
(The list can even be sent to him in advance so
that he can prepare material or samples, if not
just having the information at hand to remind
him of things he wants to say.)

Try to keep the clock in mind. It should
not "run on forever". Half an hour to 45
minutes max was suggested. That way it does
not drag on for the expert and he will be fresh
and interesting.

Hopefully, this will be of help to you.
Good luck and happy interviewing. This is a
good project to preserve a wealth of
knowledge.

Sandy

ANA Member Services
hill@money.org
719-482-9846 direct line
800-367-9723 ext 146 toll free

Notice of Sale

Presidential Coin’s 78 th Exonumia
Sale will be held on June 7 th in Baltimore.
Joe Levine has outdone himself with rich
offerings of just about every specialty under
the sun, including Washingtonian, So-Called
Dollars, political items, Inaugural medals,
Mint medals, ANS medals and many one-of-
a-kinds. Members of MCA can request a
free catalogue from Presidential Coins at:
Tel. 571-321-2121, Fax: 571-321-0696 or e-
mail: ilevine968@aol.com

14

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